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Page 16 text:
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Ayun Fedor i fu deiirers the final blow to j more colorful rime for Victor Led- better. Robin Enin rolls with the punches and tike a poke it her own make-up. Make-up designer Mark Wood adds finishing touches to the character played by Penny Hayes. Mercer Players don't discriminate against race, sex or super-natural ori- gin. 12
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Page 17 text:
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Behind The Scenes' When the lights come up on opening night of a play, the audience gets a grandstand glance at a polished performance; but the ovaion de- livered at the final curtain hardly equals the fervorous pride felt by the performers beyond the range of the spotlight. Everyone hears the stories of the frantic, last- minute preparations before a show. These are gross understatements. What do you do when all the dimmers on the light board blow out two days before a show goes up? One part prayer, two parts perspira- tion, and a swift kick to the fuse box; then you rewrite all of the light cues for one final dress rehearsal. What do you do when the blood used on stage cither runs like water or clots like paste? You find a new recipe: Karo syrup, red food coloring, and ... chocolate flavoring? Speak- ing of high blood sugar. What happens when the entire cast and half the crew range in sickness from sniffles to walk- ing pneumonia? You see exhausted people popping aspirins and chug-a-lugging cough medicine. No more midnight oil, and party- goers are put to bed by 8:30. Costumes are fitted and re-fitted. Saws, buzzing, nails being pounded. Props are mis- placed. Lights are focused until all hours of the morning. And everything that could possibly go right, doesn't. But when the stage is swept for the last time, the house opens it doors, beginning a perfect evening. Applause, applause! Give them all a hand! Mentor, Tom Williams, guide young Courteney Wilson down yel another jagged path. lelf fortes, the original cut-up.
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